Actor turned singer Kiefer Sutherland delivers the less than memorable “Bloor Street”

Kiefer Sutherland is making music – let’s talk about it. Known for his role of Jack Bauer in ‘24’ and numerous stand out movie appearances including ‘Stand by Me’ and ‘The Lost Boys’, Sutherland has decided to venture into country music: trust me, I’m just as confused. Bloor Street is Sutherland’s third album, which in all honesty is a compilation of the same song in different fonts. Nonetheless, let me spoil you with all the details of the album, through my not so impressed lens.

Bloor Street, named after a highway in Sutherland’s hometown Toronto, opens with the title track – full of corny, basic lyrics which set the tone for the rest of the album. “Baby, baby walk slow” is the entirety of the chorus, so creatively written by Sutherland himself. An ode to his hometown, he could have done a bit better to rep his city. In an interview with the Toronto Star, Sutherland explains how his song writing is “able to communicate stories…very much like movies”, which sadly does not shine through.

We then progress on to “Going Down”, which sounds like Bloor Street but with even worse lyrics. Despite my dislike of the song, Sutherland has a great voice for the Americana country he seems to be trying to achieve: the smoky, gruff tone is wasted on this project. The uninspired lyrics transpire to “Two Stepping in Time”, which finds Sutherland describing “cigarettes in the ashtray” and “empty glasses of whiskey”, sparking images of a stereotypical Bradley Cooper in A Star is Born, tortured artist, American male.

“Country Jail Gate” sees Sutherland reflecting on his time behind bars, revealing a side of vulnerability and honesty that the rest of the album lacks in. Though the album is packed full of nostalgic symbolism for Sutherland, it seems half-hearted and meaningless. “Country Jail Gate” injects the real-life emotion that Bloor Street was begging for, reviving it half-way through the album. “My mother died when I was inside”, admits Sutherland, exemplifying the suffering he experienced in jail.

Album sequencing is an art that Bloor Street fails to execute. After pulling on our heartstrings with his tale of woe inside the confinements of prison, we are approached with “Goodbye”, which sees a cheeky (almost sassy) Kiefer Sutherland that I was far from ready to experience. The track is a bitter break-up song, with the lyric “I’ll see you in hell when I fucking die” taking me by surprise as his voice dips into a sultry growl – headphone users beware.

The lack of variation continues for another four songs, identical in instrumentation and intolerable lyrics. Filler songs are usually expected – just not for the entire track list. Wethen finally arrive to the closing song of the album, “Down the Line”. Sutherland is accompanied by female vocalist Eleanor Whitmore, which acts as a reward for anyone who had to endure the entirety of Bloor Street. The track is perky and uplifting, which does not match its preceding songs.

From my lack of enthusiasm and borderline angry comments on the album, you can tell it was not for me. I believe myself to be openminded when it comes to music, which spurred me to review this album. However, the lack of creativity, drab drudgery that this album ensues left me disappointed and undersold. If you are an avid fan of unstimulating, mainstream country, give it a go. Personally, I found Bloor Street repetitive, boring, and not up to the calibre of his acting ventures.

Here’s a message from Kiefer to anyone who might be intrigued: